Friday, September 15, 2017

Can a playwright create an engaging and
dramatically effective show where dialogue is at a minimum?In the case of Small Mouth Sounds, Bess Wohl has mostly succeeded.

The plot centers on six disparate
individuals who have all registered for a weeklong retreat of meditation and
reflection.Very soon, under the
direction of the facility’s spiritual leader, the participants are instructed
not to speak during their time at the center.This begins an odyssey, often funny, sometimes poignant, of
self-discovery and enlightenment punctuated by self-important, vacuous lectures
from the disembodied voice of the guru.

The cast of "Small Mouth Sounds" at Long Wharf Theatre through September 24th. Photo by T. Charles Erickson.

The entertaining and fascinating aspect
of the play is watching how the players interact and function, mostly without
mouthing any words.We see them connect
(or not), cooperate, and learn to communicate silently as they seek answers to
their own series of questions and problems.

Bess Wohl has crafted an original take on
the tried and true formula of observing a group of unrelated characters come together
and bond.Small Mouth Sounds can be seen as a statement on human nature, our
need for companionship, and the ability to take risks.The show is moving, playful, humorous and,
for the most part, captivating.The
production is more successful during the muted portions of the play as opposed
to the occasional monologues.Towards
the end, the uniqueness and diverting nature of the show begins to lose some
steam but, overall, this is a satisfying and worthwhile play to see.

The ensemble cast is a crazy quilt of
characters.Socorro Santiago as Joan, a
woman approaching mid-age, approaches the week with an apprentice’s zeal.This initial earnestness becomes more
tempered as the relationship with her partner, Judy, portrayed by Cherene Snow,
becomes strained and uncomfortable.Judy, unhappy to leave the comforts of home and the use of her
electronic devices, is the more aggrieved of the twosome.Ms. Snow, with more restrained grimaces and
pained looks, that are not all related to her self-imprisonment at the retreat,
is the ying to Joan’s yang.

Ben Beckley and Edward Chin-Lyn in "Small Mouth Sounds" at Long Wharf Theatre through September 24th. Photo by T. Charles Erickson

Rodney, tall and handsome, is played with
a graceful ardor by Edward Chin-Lyn.He
is the true believer, at least for the weekend, of everything healthy for both
mind and body.The actor deserves kudos
for putting his modesty on hold for a very funny scene midway through the
show.Ben Beckley, as Ned, is the most
frenzied performer, both in his character portrayal and actions.His troubles, laid out in an over long
monologue, are both funny and heartbreaking.Brenna Palughi, as Alicia, a harried blonde is more detached from the
others and her motives for attending somewhat of a mystery.The actress does well more in tandem when
interacting with one of the other characters. Connor Barrett, as Jan is, well, a
conundrum.We know and learn very little
about him until the very final scene, which in itself is not conclusive.Barrett utters the fewest words in the
production, but the actor conveys an impressive number of emotions and feelings
from just a stare or simple hand movement.Orville Mendoza is the teacher whose voice is occasionally heard
lecturing the participants.He
convincingly displays a world-weariness as he spouts sanctimonious platitudes
that he doesn’t always seem to believe himself.

Cherene Snow and Connor Barrett in "Small Mouth Sounds" at Long Wharf Theatre through September 24th. Photo by T. Charles Erickson

Director Rachel Chavkin needs to call on
all her skill and experience to helm the show since dialogue is at a
premium.She, instead, focuses on facial
expressions, manic gestures, and a bevy of non-verbals to build and carry along
the plot. She handles a very, shall we
say, raucous situation with aplomb and comic gusto.

Small Mouth
Sounds, an absorbing and winning production, through September 24th
at Long Wharf Theatre. For tickets go to www.longwharf.org or call 203-787-4282.

Sunday, August 27, 2017

There have been
few musicals that have celebrated Broadway’s greatest hits.The last show to be produced was the 1989
Tony Award winning Jerome Robbins
Broadway.While spotlighting the
innovative and creative output of the renowned choreographer there was also a
cavalcade of songs from such musicals as The
King and I, On the Town, High Button Shoes, and Peter Pan.

This past week
another greatest hit package opened on The Great White Way.The
Prince of Broadway, a marvelously entertaining musical, featuring a very talented
musical theater cast, presents moments from shows produced or directed by the
legendary Hal Prince. [Trivia Question answer—Mr. Prince has won the most Tony
Awards in history at 21].

With dozens of
productions to his credit—beginning with Damn
Yankees in 1955 through Lovemusik in
2007, there were many selections to choose from for the show.The show is highly represented by the works
of Stephen Sondheim (six) and includes such crowd-pleasing numbers as “Heart”
from Damn Yankees, “Tonight” from West Side Story, “Send in the Clowns”
from A Little Night Music, and “Don’t
Cry for Me Argentina” from Evita.

There is a very
loose chronological order to the scenes.Almost all of them are introduced with factoids written by librettist
David Thompson.The songs can be rousing
(“If I Were a Rich Man” from Fiddler on
the Roof), heartfelt (“Ol’ Man River” from Show Boat), comedic (“You’ve Got Possibilities” from It’s a Bird, It’s a Plane, It’s Superman),
and dramatic (“Music of the Night” from Phantom
of the Opera).

While there is no
question about the entertainment value of this thoroughly enjoyable show, it
does suffer, slightly, from the lack of a compelling storyline to help keep the
audience’s attention continuously focused at a heightened level.

My one quibble
with the show is the song selection.It’s
a pointless discussion to have since everyone will have their favorites but,
with that said, I would have preferred more variety, less Sondheim.Maybe something from Baker Street or On the
Twentieth Century or Flora, the Red
Menace could have been included.

The cast, filled
with Broadway musical veterans and some newcomers, is superb.Their level of artistry and professionalism
is outstanding.If I had to choose a few
standouts—and this in no way minimizes any of the other actors and actresses—I would
single out three.First, Karen Ziemba,
who so beautifully performs one of my favorite songs from Cabaret with the wistful “So What” and gives a winning comic turn
with “The Worst Pies in London” from Sweeney
Todd.Second, is Tony Yazbeck who
has the lone dance number of the show, delivering a blistering routine to “The
Right Girl” from Follies.Lastly, is Bryonha Marie Parham whose
powerhouse vocals in songs from Cabaret and
Show Boat resonate powerfully
throughout the Samuel J. Friedman Theatre.

Directors Susan
Stroman and Hal Prince have rendered beautifully conceived vignettes that
showcase the vocal talents of the performers.They skillfully and adroitly keep the flow of the show constant, crafting
a well-paced rhythm to the work.The
scenes are handsomely dressed up with unpretentious, but effective scenic
designs by Beowulf Boritt that convey the settings without being intrusive or
overwrought.

As choreographer,
Stroman shines with the tour de force number from Follies.Disappointingly,
there are no other songs with captivating dance routines.A few more would have added variety and zip
to the overall production.

The Prince of Broadway, an engaging and
finely-tuned tribute to one of the legendary showman of Broadway.

Thursday, August 24, 2017

I saw the
original production of Appropriate,
which is playing at the Westport Country Playhouse through September 2nd, when
it debuted Off-Broadway a few years ago. At that time I described it as a poor
man’s version of the play August:
Osage County. I wasn’t looking to compare the two dramas, but more
as a point of reference. Both revolve around a gathering of dysfunctional
family members, the divulging of household secrets, and a lot of shouting and
screaming between siblings.

L-R:
Betsy Aidem and David Aaron Baker in Branden Jacobs-Jenkins’
“Appropriate,” directed by David Kennedy, at Westport Country Playhouse,
now playing through September 2.
(203) 227-4177.www.westportplayhouse.orgPhoto by Carol Rosegg

However,
with the explosive demonstrations between white nationalists and
counter-protesters in Charlottesville, VA earlier this month and the debate
over racism and “very fine people” the play takes on a more ominous undertone.
I still wouldn’t classify the show as a fully gripping production, but the work
does provoke more introspection and reflection by audience members due to the
significant “reveal,” its consequences, and controversy.

In brief,
the plot centers on two brothers, a sister, their significant others and family
members, who have converged at the rundown, ancestral home of their recently
deceased father. Their goal is to sort through the mountains of refuse and
clutter he left behind in preparation for selling the house and its contents.
Toni (Betsy Aidem), the manic, self-pitying sister, has taken charge of the
purging process, which has, temporarily, led to a cessation of long time tensions
and simmering hostilities with her brother, Bo (David Aaron Baker), and his
wife, Rachel (Diane Davis). With the unexpected arrival of the black sheep of
the clan, Franz (Shawn Fagan) and his girlfriend, River (Anna Crivelli), and
the discovery of a mysterious and deeply disturbing photo album the tentative
détente among the group very quickly disintegrates as in-fighting and
accusations punctuate the stage. There is no comfortable ending or
reconciliation between the family members as each person heads back to their
lives, slightly battered and disconsolate.

Playwright
Branden Jacob-Jenkins has taken well-established themes of family strife and
friction to create a play that seethes with age-old slights and discord. In Act
I, the volatility of the players, the interplay between the individuals, and
the jarring disclosures that unfold provide engrossing drama. However, the
remaining two Acts lose steam and momentum. Too much of the action
and dialogue seems empty, without meaningful and engrossing substance. The
soliloquies and confessions come up somewhat hollow. Add to that characters
that are not very likeable and the result is a production that is loud, but
bereft of a satisfying conclusion. In fact, I thought it was rather a
disappointing end.

L-R:
Shawn Fagan, Diane Davis, Nick Selting, Betsy Aidem, and David Aaron
Baker in Branden Jacobs-Jenkins’ “Appropriate,” directed by David
Kennedy, at Westport Country Playhouse, now playing through September 2.
(203) 227-4177.www.westportplayhouse.orgPhoto by Carol Rosegg

The cast
is uniformly fine, with well-defined roles. On the one hand, they can be seen
as one-note characters—this one is the resentful one, that one self-absorbed,
this person with a martyr complex--but the actors do give some depth and
shading to their portrayals. Betsy Aidem as the tortured, self-righteous, and
self-appointed head of the Lafayette clan plays the part to the hilt. She can
come across as too shrill and whiny, but this is a woman that has had many
personal and professional setbacks so, while she is not a pleasant person, her
temperament is understandable. David Aaron Baker as brother Bo, is a volcano
ready to erupt with pent-up emotions and incredulity. The actor deftly, yet
vainly, straddles the line between mediation and chaos. Diane Davis as Bo’s
wife Rachel gives a rewarding performance, showing equal parts
conciliation, indignation, and pure disdain for her bossy sister-in-law as well
as her position within the family. Shawn Fagan as brother Franz, with his
hidden and erratic past, comes across as both thick-headed and vulnerable, with
his true motives never fully revealed. Anna Crivelli as Franz’s girlfriend,
River, is suitably wide-eyed and outwardly naïve, but has an undercurrent of
steeliness and savviness. The children of the two families, Rhys (Nick
Selting), Cassie (Allison Winn), and Ainsley (Christian Michael Camporin) are
serviceable in their roles with Selting having more substance to his character
as a somewhat misunderstood and troubled teen.

L-R:
Betsy Aidem and Nick Selting in Branden Jacobs-Jenkins’ “Appropriate,”
directed by David Kennedy, at Westport Country Playhouse, now playing
through September 2.
(203) 227-4177.www.westportplayhouse.orgPhoto by Carol Rosegg

Director
David Kennedy skillfully builds up the pulse of the production to a sustained
and cacophonous crescendo by the end of Act I. He adroitly positions the
performers to create a smooth and methodical flow as the actors and actresses
enter and exit the stage. Acts II and III are more problematic. There are less
group scenes and more individual pontifications and self-serving soliloquies
that are more difficult to wring dramatic tensions from. Even with the
shortcomings of the play he draws out a sufficient amount of tension to keep
the audience intrigued most of the time.

Scenic
Designer Andrew Boyce has crafted a realistic deteriorated plantation home.
There is enough bric-a-brac and heaps of useless items strewn around and piled
high around the set to gladden any hoarder. Matthew Richards’ Lighting Design
provides ghostly, moonlit effects, especially at the conclusion of the
production (Note: don’t leave until the final curtain comes down). Fitz
Patton’s Sound Design succeeds at two levels. First, is the almost suffocating
noise of cicadas used throughout the play, which help define the uncomfortable,
smothering environment inside the household. Second, are the eerie,
other-worldly sounds used during the final minutes of the show.

Appropriate,
a
flawed, occasionally arresting drama, playing at the Westport Country Playhouse
through September 2nd. For tickets, go to: http://www.westportplayhouse.org
or call (888) 927-7529.

Wednesday, August 23, 2017

We know the music, but how many of us
know the background of Russian composer Piotr Ilyich Tchaikovsky? In his
one-man show, Our Great Tchaikovsky, the actor/playwright/designer/concert
pianist Hershey Felder brings to life the personal history of this enigmatic
figure in an engaging and artistically pleasing production. The show, playing
at Hartford Stage, runs through August 27th.

On a minimally outfitted set, designed to
resemble the interior and exterior of a country dacha, Felder delves into the
musician’s legacy, both in character and through straightforward stories. For
most of the performance he is seated behind a baby grand piano. In between his recitations,
Felder pounces on the keyboard with enthusiasm and vitality on numerous
compositions—from the little known to such heralded works as the “1812
Overture,” “Swan Lake,” and “The Nutcracker.”

Tchaikovsky’s entire life, according to
the playwright/actor, was difficult and full of mistrust, heartbreak and social
insecurity due, primarily, to is secretive homosexual yearnings and lifestyle.
For every one of his triumphs there seemed to be an equally deflating personal
note.

As playwright, Felder brings forth a
highly satisfying depiction of the composer’s life, chronicling from the time
he was a very young boy through his untimely and mysterious death. The actor
portrays the tormented artist, along with a number of other individuals that
crossed paths with him. These dramatics are interspersed with a healthy amount
of virtuoso piano playing that amplifies and enlivens the action on stage. The
only criticism of the show is Felder’s excursion into current Russian politics
and attitudes towards the gay community. There is a slight reason for his
discourse, within the context of the production, but the short digression could
have easily been removed without undermining the overall thrust of the play.
Likewise, the ending “shot” was confusing and, again, unnecessary.

Director Trevor Hay has the luxury of
featuring the musical prowess of Hershey Felder whenever the narrative bogs
down. He smartly never lets the story telling impede on the rhapsodic
Tchaikovsky melodies. Hay also has a good read on the dynamic between the
narrative and music, interspersing the two to create a compelling and appealing
whole.

As Scenic Designer, Felder has kept the
set simple, but elegant; full without being busy. Lighting and Projection
Associate Brian McMullen has created beautifully appropriate projections that
add a significant amount of realism, sparkle and enrichment to the show.

Our Great Tchaikovsky, well-acted,
engrossing, and full of the glorious music of the Russian composer, playing at
Hartford Stage through August 27th.

Friday, August 18, 2017

The 70’s are alive in the mostly
entertaining, slightly sluggish PG-rated stage version of the hit movie Saturday Night Fever.

The musical closely follows the story of
the film, but with more subdued sequences.Remember, when originally released, the motion picture was R-rated.In the show, there is only a hint of racial
tensions and a key sexual assault scene has been discreetly removed.Also, the disquietude of teenage life is gently
glossed over.The book writers have,
instead, smartly focused on the central character of Tony Manero, his key
female relationships, and a great deal of dancing.When Saturday
Night Fever laces up its party shoes the musical is alive and dynamic.Otherwise, it’s a more pedestrian urban
melodrama.

Michael Notradonato as Tony Manero and members of his crew.

The plot focuses on Tony, who finds
solace from his dysfunctional family and dead-end job at the 2001 Odyssey disco,
where he hangs out with his neighborhood friends.He is the king of the dance floor.The man with all the right moves.When a dance contest worth $1,000 is
announced, he enters with his former dance partner, Annette, who yearns for his
affection, but is constantly spurned.Soon
after, Tony spies a gorgeous blonde, Stephanie, on the dance floor and sets his
sights on her.At first, his advances
are rebuffed, but that quickly changes as she soon becomes his new dance
partner, leaving Annette on the outs.As
their relationship develops and the big night approaches, Tony must contend
with other events in his life.These
include his unsupportive mother and father, a brother who suddenly leaves the
priesthood, ethnic discord in his neighborhood, a close friend’s death, and his
own self-doubts and self-worth.In the
end, the dance competition arrives and ends with a surprising twist.

The book by Sean Cercone and David
Abbinanti is the primary problem with the musical.The over two dozen scenes require too much
time to make the necessary set changes.The myriad transitions afford little opportunity to flesh out the
supporting characters in the show.They
become one-dimensional, lacking sufficient backstories and depth.

The score pulsates with the disco beat of
the late 1970’s.Seven songs from the
show, most written by the Bee Gees, climbed to the top of the Billboard singles
chart when they were originally released from the movie soundtrack.They include such classics as "Jive
Talkin,” "You Should Be Dancing," "How Deep Is Your Love," "Night
Fever,” and "Stayin' Alive." They will leave even the most listless
audience member tapping their feet.

There are three members of the cast worth
noting.Foremost, is Michael Notardonato
as Tony Manero.The actor is a natural
for the Brooklyn teenager with all the right moves.He is an athletic dancer and smooth
operator.He fully develops the
character, infusing the role with passion and zeal.He has a sizzling chemistry with the
character of Stephanie Mangano (Caroline Lellouche).Ms. Lellouche imbues her role with a sheen of
glamour and confidence, but layers her portrayal with a hint of insecurity and bravado.Nora Fox’s Annette shows spunk and
determination as she pursues acceptance among Tony and his inner circle of
friends.The hurt and rejection she
experiences feels genuine and heartfelt.

Dance sequence in the 2001 Odyssey disco.

The strength of the musical is the lavish,
all-out production numbers choreographed by Director/Choreographer Todd L.
Underwood, especially those in the 2001 Odyssey nightclub.He does an outstanding job conceiving both
large-scale and intimate dance routines in the style of the era.Anyone care to do the bump or shake your
groove thing?

Mr. Underwood is less successful as
Director due, mostly, to the unwieldly nature of how the musical is
structured.With so many scenes it is
difficult to create a vibrant and compelling flow to the production.It’s almost as if his main assignment is
trying to smoothly and quickly segue from one scene to another, which is not
always successful.The cumbersome nature
of the show also gives him less time to work on developing viable secondary characters.

Scenic Designer Martin Scott Marchitto
has managed to create simple set pieces, except for the bulky Verrazano-Narrows
Bridge backdrop, that quickly and simply defines each scene.Lighting Designer Marcus Abbott is at his best
with the dazzling disco light displays and Costume Designer Lisa Bebey hits the
mark with spot on 1970’s fashions, from leisure wear to partying threads.

Saturday Night
Fever, playing at the Ivoryton Placehouse through September 3rd.
Ticket information is at http://www.ivorytonplayhouse.org or by calling 860-767-7318.

Sunday, August 13, 2017

The Music Man – the Meredith
Wilson show that took Broadway by storm in the late 1950’s – has been
reimagined for the small stage in a disconsonant and cross-purposeful production
at the Sharon Playhouse.The decisions
by director Morgan Green are at times intriguing but, in the end, the overall presentation
is just too incongruous to produce a satisfactory musical.

The storyline of the show remains the
same, but has been updated from the early part of the 20th century
to 2017.There is still Harold Hill, the
slick talking con man looking to swindle the good folks of River City, Iowa by
selling them band instruments, costumes and music lessons.His main obstacle is the no-nonsense, unattached
librarian Marian, the suspicious piano teacher who doesn’t believe his verbal double-talk
or, at first, fall for his persistent wooing.In the end, Hill’s roguery and dalliances win over the girl and show the
townsfolk how to overcome their partisan, quarrelsome views while also
instilling confidence in the denizens, both young and old.

The book, written by Wilson, is an ode to
small town life, which is immediately incongruent with the thrust of this
production as a number of decisions create unworkable and confusing
scenarios.This is immediately
exemplified in the opening sequence, where traveling salesmen are aligned on
stage singing “Rock Island.”The song, through
the cadence and lyrics, is supposed to mimic an old steam train traversing the
plains, but the staging doesn’t imply motion or even the suggestion they are
navigating the tracks.

The score, also by Meredith Wilson, is
awash in timeless classics such as “Ya Got Trouble,” “Seventy-Six Trombones,”
and “Till There Was You.”They evoke a
simpler, bygone time.Most are presented
in a straightforward manner, while others are given an unexpected twist that
come across as more gimmicky.“Marian
the Librarian” is sung to a Latin beat.The show-stopping “Shipoopi” is an exercise video/disco infused number,
disco ball and all.

The cast is led by Robert M. Johanson as
Professor Harold Hill.He is a cagey,
calculating huckster who comes across more as the razzle dazzle Billy Flynn character
from the musical Chicago then a wily,
homespun rascal.In fact, the way “Seventy-Six
Trombones” is staged could fit perfectly into that long-running show.Elizabeth Thomas’ Marian Paroo has a lovely
voice with an appealing stage presence.Larry
Owens, Harold Hill’s partner in crime, Marcellus, is suitably boisterous in a
limited role.Vin Knight could have
leavened his role as Mayor Shin somewhat so as not to appear too much as a befuddled
country bumpkin.The bickering school
board members—Matthew Krob, Robert Bannon, Daniel Walstad, and Jacob Pressley—unite
delightfully to provide sweet-sounding barbershop quartet harmonies,
exemplified in such songs as “It’s You” and “Lida Rose.”Myles Crain is endearing and winsome as
Marian’s little brother Winthrop, who overcomes his silence and reticence
caused by his lisp.

Choreographer Chris DeVita’s production
numbers are successful as audience-pleasing dance routines that fit within the
scope of this reimagined version of the show.They can be energetic and playful.

Director Morgan
Green’s vision for the musical has flair and provocative choices, but do not, altogether,
work for a musical that is so time and locale specific.For example, the way Harold Hill ingratiates
himself to the residents of River City is by extolling the harmful effect the
newly installed pool table will have on the young ‘uns.In 1912, this could cause considerable
consternation, but in 2017?Likewise, in
the ebullient “The Wells Fargo Wagon” number the folks sing with joyful
excitement about the impending arrival of the turn-of-the-century delivery
vehicle.But, nowadays, packages just
appear at our doorsteps.Some other
choices were deemed too troubling to the licensing company.Originally, cell phones were incorporated
into the production, but these were ordered removed.Additionally, two songs the director had displaced
from the musical--"The Sadder-But-Wiser Girl" and "My White
Knight"—were instructed to be put back into the show.

The creative team delivers mixed
results.Carolyn Mraz’s Scenic Design of
a spare red and white bleacher setting does evoke a small-town vibe as well as
sneakily showcasing itself as an American flag.Alice Travener’s Costume Design keeps in line with the modern flavor of
the show with more leisure wear and summery outfits. The Video Projections by Jessica Medenbach, utilized
throughout the show, come across as more of a distraction that does little to enhance
the production.

The Music Man, different, but disappointing,
playing at the Sharon Playhouse through August 20th.Information and tickets are at https://www.sharonplayhouse.org/buy-tickets
or 860-364-7469 ext. 200 & 201.

Saturday, August 12, 2017

Taking a classic work of fiction and transforming it into an
absorbing, dramatic piece of theater is a difficult assignment.This is the case with 1984, the stage adaption of George Orwell’s dystopian novel, now
appearing on Broadway.The play is a series
of staccato-like scenes from the book which, unless one has recently read the
work, comes across as jumbled, incomplete, and hard to follow.

For a novel that was written in 1948, the book is
frighteningly and eerily prescient of today’s political times.The terminology created by Orwell, such as
Big Brother, Fake News, and Thought Police, have become part of our common
vernacular.The lack of individual
privacy, as exhibited by the omnipresent telescreens, is almost
clairvoyant.Yet, the terror and
grimness from the book has not fully translated into the play, adapted and
directed by Robert Icke and Duncan Macmillan.The latter half of the production, when the two lovers have been
captured and brought to the terrifying torture space, Room 101, is more gruesome
and unnerving rather than bleak and foreboding.

The stage production is structured, initially and then
periodically, as a series of flashbacks from the future.The individuals (scientists? ordinary citizens?)
hypothesize about the entries in a diary that the protagonist Winston Smith
has penned.However, the main thrust of
the story focuses on Smith, a member of the Party who day-in and day-out
rewrites Party history.He secretly
despises the Party, pretending among his colleagues and acquaintances that he
is a loyalist.He soon becomes involved
with Julia, a young Party woman who also loathes the central leadership.They secretly meet for passionate
rendezvouses, while at work remaining stoic and impassive towards each
other.Life trudges along until both are
suddenly rounded up in a thought-to-be secluded apartment by the Thought
Police.They are brutalized mercilessly,
even though we just witness what happens to Winston.The interrogations are led by the ministry
official O’Brien, who Winston and Julia thought were part of the conspiracy against
the Party.O’Brien wants to “cure” the
low-level bureaucrat of his “misguided” hatred of the Party.In the end, even as he tries to hold on to
his humanity and love for Julia, Winston is broken, returning to society
successfully re-educated, a shell of his former self, his love for Julia obliterated.

While not looking for a page by page retelling of the novel,
the show seems like a Sparks Note recitation.The plot and characters are sketchy and fragmentary, which robs the
viewer of the complexity and power of what Orwell authored.The intensity is ratcheted up during the rehabilitation
(torture) segment.Portions of it can be
extreme and hard to witness as demonstrated by some audience members leaving
their seats.

As directors, Robert Icke and Duncan Macmillan convey the
blandness of the lives of the denizens of Oceania, one of the three superstates
that rule the world.This banality,
coupled with a strict adherence to Party values, effectively communicates a depressing
and cheerless existence.Their significant
use of television monitors, or telescreens, in the production strongly transmits the notion of
zero privacy, no matter where or when the setting.The point of the show where Winston and Julia
are captured and Winston is continually punished and tormented is harrowing,
but the scenes do channel the essence of the novel.

The three main cast members—Tom Sturridge as Winston, Olivia
Wilde as Julia, and Reed Birney as O’Brien—give absorbing and penetrating
performances.Sturridge embues his
character with a lackluster sheen, but also with an undercurrent of rage and, towards the end,
an inner strength that is ultimately wiped clean.Ms. Wilde is animated and purposeful.Her defiance comes across as less muted then
her companion.Mr. Birney is chilling as
the reserved, smooth-talking, and matter-of-fact Party VIP.He is downright terrifying with his
doublethink and fanatical obedience to Party doctrine.

1984, an overall disappointing production
of the Orwellian classic at Broadway’s Hudson Theatre.

Tuesday, August 8, 2017

The first collaboration between Richard
Rodgers and Oscar Hammerstein II was the musical Oklahoma!The show is
recognized as the first to integrate book, score, and choreographed numbers
seamlessly into a musical.A spirited
revival of the ground-breaking production opened last week at the Goodspeed
Opera House, playing now through September 27th.

The book by Oscar Hammerstein II, based
on the 1931 play, Green Grow the Lilacs,
emphasizes the simpler, less complicated time around the turn of the 20th
Century in the Oklahoma Territory.It
can appear hokey and sometimes too straightforward, but the naturalness and
ease does belie an ominous undercurrent.

The focus is on cowboy Curly McLain and
his awkward, apprehensive pursuit of Laurey Williams.Complicating matters is the unsettling farm
hand Jud Fry’s interest in Curly’s would-be beau.A secondary storyline is the relationship of
the flirtatious Ado Annie and suitor Will Parker and Annie’s dalliances with peddler
Ali Hakim.Overseeing all that
transpires to the satisfying ending is the matriarch Aunt Eller.

The score of the show?What can you say?Every song by Rodgers and Hammerstein is a
tuneful gem.There are simple bouquets
to everyday life as in “Oh, What a Beautiful Mornin’” and “The Surrey with the
Fringe on Top.”The romantic rumblings
of young love are expressed in “People Will Say We’re in Love,” and there are full-throttled
comedic numbers, such as “I Cain’t Say No!” and “Kansas City.”

The cast features Rhett Guter as Curly
McLain.Winner of last year’s Best
Featured Actor in a Musical by the Connecticut Critics Circle, Guter is
engaging, reserved, but also shows his determination and fight in an all-round
winning performance. Samantha Bruce’s Laurey
Williams is more than a match for her cowpoke admirer.She gives a tough, no-nonsense portrayal of
the farm girl, who is also seeking love and romance.Gizel Jimenez as Ado Annie and Jake Swain as Will
Parker provide ample comedic interludes as does Matthew Curiano in his role as
Middle Eastern peddler Ali Hakim. Matt Faucher shows anguish and a elicits
a modicum of pity as the quarrelsome, ill-fated Jud Fry. Terry Burrell’s Aunt Eller is probably the key
role of the musical.She is the overseer
and the one everyone gravitates to for advice and solace.Ms. Burrell brings a knowingness and common
sense and inner strength to the role.

In any production of Oklahoma! the Ballet Scene dream sequence at the end of Act I is a
key barometer of the show’s quality and success.Choreographer Katie Spelman carries out this
critical assignment with confidence and style.The number effectively explores the darker side of Laurey’s feelings which,
in turn, adds depth to the character as well as the show.Ms. Spelman is equally adept at the more
rambunctious and festive dance sequences.They are playful and, most of the time, appear organically within the
action.

Director Jenn Thompson adroitly expands
the confines of the production into the audience.This opens-up the show beyond the boundaries
of the small Goodspeed stage.She
demonstrates a deft hand helming the different tonal qualities and settings of
the musical—from the friskiness of the young lovers to the humorous and
mischievousness of Ado Annie and Will Parker to the ominous, menacing rumblings
surrounding Jud Fry.Her incorporation
of the dance segments into the overall storyline is seamless and harmonious.

Wilson Chin’s Scenic Design captures the airiness
and sunshine of a summer’s eve to the foreboding setting of the rundown smoke
house. Philip B. Rosenberg’s Lighting
Design is skillful in its efficacy, especially when the daylight filters hauntingly
through the planks of Jud Fry’s living space.Also, a special nod to Unkledave’s
Fight-House for their staging of the realistic fight sequences.

Oklahoma!, a feisty classic
at the Goodspeed Opera House through September 27th.

Wednesday, August 2, 2017

Rarely does the national tour of a Broadway musical
surpass its New York original. Such is the case with Finding Neverland that has alit on the
Bushnell stage through Sunday, August 6th. The show, which tells the
back story of how playwright J.M. Barrie conceived his classic tale, Peter Pan, is enchanting and
captivating and well-worth the price of admission.

Audiences are most likely familiar with the many
iterations of Peter Pan, from the 1950’s musical starring Mary Martin to the
Disney classic and so many others. Before all of these versions there was
simply the 1904 play, with no music, that charmed the world.

Finding
Neverland tells the story of how the beloved play, Peter Pan, came into existence.Barrie, a highly successful London playwright
at the turn of the twentieth century, is searching for inspiration for a new
show to write.Pressured by his longtime
producer; beautiful, but dispirited wife; and others the writer’s creative
spark is ignited by a chance meeting in the park with four boys and their
sickly, widowed mother, Sylvia Llewelyn Davies.The boys are rambunctious, full of energy and imagination.Barrie, whose life is anything but exciting,
immediately takes to Ms. Davies and the children.Their frequent rendezvous leads the author to
his breakthrough play even though it takes a toll on his marriage and the
health of the woman he now admires and respects.

Playwright James Graham has crafted a well-structured,
surprisingly emotionally laden story inspired by Barrie’s creation and the
events and personalities that played a part in its genesis.He has skillfully constructed cheerfully buoyant
scenarios while also exploring the darker side of the turn-of-the-century
writer’s life.

The music and lyrics by Gary Barlow and Eliot Kennedy satisfactorily
work in advancing the plot and enriching character development.The score is uncommon in today’s world of
musical theater since there are actually songs you leave the Bushnell Center
humming!They include such spirited
numbers such as “Believe” and “Play” and moving ballads as with “When Your Feet
Don’t Touch the Ground” and “All That Matters.”

The entire cast is first-rate, led by Billy Harrigan Tighe as
J.M. Barrie.The actor brings an element
of fun and playfulness to the role of the man who won’t grow up.At the same time, he layers his performance
with an earnestness and steadfastness, which rounds out his character.Christine Dwyer as the widow Sylvia LLewelyn
Davies is cheeky and effervescent.She
has a beautiful voice, which is highlighted in the song “All That
Matters.”John Davidson, yes the John
Davidson who was ever-present on 1970’s variety and talk shows and the host of
one of the first reality shows—remember “That’s Incredible”—is superb in the
dual role of producer Charles Frohman and Captain Hook.Even with his fifty plus years in show
business, there is still a youthfulness and bounce in his step.He is also more worldly wise and this comes
across winningly as he plunges into his portrayals of the gruff, yet kindhearted
man of the theater as well as the slyly menacing Hook.Broadway veteran Karen Murphy is suitable haughty
and protective as Mrs. Davies’ imposing grandmother, Mrs. D Maurier.

The four children are endearing and enchanting.They are a talented, cohesive group,
especially the oldest lad, Colin Wheeler as Jack, who plays a mean ukulele in
the song “We’re All Made of Stars.”

Director Diane Paulus, who helmed the original Broadway production,
has tightened up the story, making the show more fluid and compelling then the
New York version.She has created a
believable chemistry and esprit de corps among the acting troupe, which
translates well whether in the surreal numbers such as “Circus of the Mind” and
“Hook” or the more carefree moments as in “The World is Upside Down.”

Finding Neverland, a magical, dazzling theatrical experience, playing at the Bushnell
Center for the Performing Arts through Sunday, August 6th.Ticket information is at https://bushnell.org/ or 860.987.5900.